ANALYTICAL CHARACTERIZATION OF ROMAN PLASTERS OF THE ‘<i>DOMUS FARINI</i>’ IN MODENA*

Baraldi, Pietro; Bonazzi, A.; Giordani, Nicoletta; Paccagnella, F.; Zannini, Paolo

doi:10.1111/j.1475-4754.2006.00268.x

Cited by 41 publications

(31 citation statements)

References 4 publications

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“…9 shows the spectrum for the dark red zone in specimen 1. Based on previous results for Roman specimens from various regions of the Roman Empire [19,30,40], some of the spectral bands can be assigned to different vibration modes of hematite (a-Fe 2 O 3 ) (see Table 1). Hematite belongs to the crystal space group of D 6 3d symmetry, which possesses seven active vibrational modes in the Raman spectrum (two A 1g modes and five E g modes) [41].…”

Section: Red Coloursmentioning

confidence: 99%

Raman microspectroscopic analysis of decorative pigments from the Roman villa of El Ruedo (Almedinilla, Spain)

Mateos

Cosano

Mora

et al. 2015

Spectrochimica Acta Part A: Molecular and Biomolecular Spectros

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Section: Red Coloursmentioning

confidence: 99%

Raman microspectroscopic analysis of decorative pigments from the Roman villa of El Ruedo (Almedinilla, Spain)

Mateos

Cosano

Mora

et al. 2015

Spectrochimica Acta Part A: Molecular and Biomolecular Spectros

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“…While glauconite is formed gradually from sedimentary minerals after deposition and so can vary widely in composition, 75 celadonite is a well-crystallized mineral of volcanic origin. 76,78,79 However, there are discrepancies in the case of glauconite, some reporting it as having the same spectrum as celadonite 80,81 while others 76 as having a spectrum with an intense band at ca 590 cm 1 . 77 Raman reference spectra of celadonite have been reported previously and are consistent with each other.…”

Section: Greenmentioning

confidence: 99%

Pigment study by Raman microscopy of 23 paintings by the Portuguese artist Henrique Pousão (1859–1884)

Correia

Clark

Ribeiro³

et al. 2007

J Raman Spectroscopy

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Twenty-three paintings by Henrique Pousão -a 19th century Portuguese painter -belonging to the collection of Museu Nacional Soares dos Reis, Porto, Portugal, were analysed by Raman microscopy. The fine focus of a 100× objective allowed the visualisation and individual identification of small grains. As a result, thirty-seven compounds, namely, anatase, barium white, basic lead sulfate, brochantite, cadmium red, cadmium yellow, calcium carbonate, carbon-based black, celadonite, chrome green, chrome orange, chrome yellow, cobalt blue, cochineal lake, copper sulfide, emerald green, iron(III) oxyhydroxide, iron(III) oxide, kaolinite, lead antimonate yellow, lead carbonate, lead white, lead sulfate, madder lake, malachite, Prussian blue, quartz, realgar/pararealgar, red lead, rutile, Scheele's green, strontium yellow, ultramarine blue, vermilion, viridian, zinc white and zinc yellow, were identified. Not all these compounds are pigments; some are extenders, others trace components and others probably products of reactions between pigments. Special attention was given to the Raman characterisation of celadonite, chrome orange, basic lead sulfate and lead antimonate yellow. Complementary techniques were used to confirm the identities of certain pigments and to characterise reference samples. Pousão, whose work has not previously been studied spectroscopically, was found to have used a remarkably wide range of pigments over his painting periods, without showing significant preference for any particular set of pigments.

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“…There are, however, very few Raman spectroscopy investigations on some powdered pigments or on wall paintings in the Vesuvian zone, and generally they appeared in Conference Proceedings or in the literature not widely accessible 4–8. Investigations on wall paintings of the Roman age are more abundant 9–11…”

Section: Introductionmentioning

confidence: 99%

Pigments used in Roman wall paintings in the Vesuvian area

Aliatis

Bersani

Campani

et al. 2010

J Raman Spectroscopy

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Powdered pigments found in bowls from the Pompeii archaeological site and some wall-painting fragments from the Vesuvian area (conserved in the National Archaeological Museum of Naples) were investigated by microscopic Raman and FTIR spectroscopies, X-ray diffraction and scanning electron microscopy-energy dispersive X-ray. Brown, red and yellow pigments are common ochres based on goethite and haematite. The blue pigment is Egyptian blue: the presence of tridymite and cristobalite indicates firing temperatures in the 1000-1100 • C range. Pink pigments were prepared both with purely inorganic materials, by mixing haematite and Egyptian blue (violet hue), or presumably by adding an organic dye to an aluminium-silica matrix. A white powder found in a bowl is composed mainly of the unusual pigment huntite (CaMg 3 (CO 3 ) 4 ). Celadonite is found in the green samples from the wall paintings, together with Egyptian blue and basic lead carbonate, while the heterogeneous green pigment in a bowl shows malachite mixed with goethite, Egyptian blue, haematite, carbon, cerussite and quartz.

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ANALYTICAL CHARACTERIZATION OF ROMAN PLASTERS OF THE ‘DOMUS FARINI’ IN MODENA*

Cited by 41 publications

References 4 publications

Raman microspectroscopic analysis of decorative pigments from the Roman villa of El Ruedo (Almedinilla, Spain)

Raman microspectroscopic analysis of decorative pigments from the Roman villa of El Ruedo (Almedinilla, Spain)

Pigment study by Raman microscopy of 23 paintings by the Portuguese artist Henrique Pousão (1859–1884)

Pigments used in Roman wall paintings in the Vesuvian area

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